Your guide to this Friday's big happenings around Spokane

By Jordy Byrd

artistâeuro;™s paintings that show how people relate to the world and others through emotions. Complimentary samples of Steam Plantâeuro;™s handcrafted beers and features reginal wines available. 995-9745.

Meet the man behind the art at the MAC.

By Joe O'Sullivan

It takes five guys in a half-empty exhibit hall at the Museum of Arts and Culture to crack open and unpack the massive wooden crate. Inside is a miniature house encased in Plexiglas, an educational snow globe of sorts.

Students and faculty reveal a little about themselves and each other in a new SFCC exhibition.

By Carrie Scozzaro

The initial impact when you enter the gallery is of totems or banners, each honoring a different artist, but also a range of styles, media, concepts and focal points. Some of the work is abstract, some narrative. A few pieces push the boundaries of taboo, others the limits of technology.

A parking lot sculpture hopes to point SFCC students beyond the blacktop. But they've got to notice it first.

By Joe O'Sullivan

âeuro;œItâeuro;™s meant to sort of blend with the parking lot and the landscape. You might not even notice it right away, even if you drove to the back of the parking lot,âeuro;� says Tom Oâeuro;™Day, an art instructor and gallery director at Spokane Falls Community College. âeuro;œItâeuro;™s not an eyesore, it doesnâeuro;™t really stand out.

The piece riling this Northern Idaho community isn’t some Buddhist elephant god or a feces-covered Madonna but, instead, a collection of fish crafted from recycled road signs. The fish form a rainbow of blues, oranges, yellows and whites that flop their way across the arch.

Terrain took Spokane by storm three years ago. But how much more can they accomplish?

By Jordy Byrd

The walls were dripping with sweat. Inside an old bank vault in downtown Spokane, moisture beaded on the walls and eventually began to oxidize into rusty green scabs. The organizers of Terrain never expected that 2,000 people would show up in 2008 for their first music and visual arts exhibition.

A new play about Pablo Picasso's muse navigates the realms of identity, womanhood and surrealist art.

By Jordy Byrd

In a series of paintings composed through the 1930s and ’40s (called “The Weeping Woman”), Picasso painted Maar’s fractured and nightmarish portrait in thick layers of oil. She became a public figure in Picasso’s life and work, yet became lost — if not trapped — within her legacy on canvas.